David Gedge

Since 1987 the Wedding Present has been making intense, literate and melodic pop music. Armed with jarring guitars and lyrics deconstructing the excruciating minutiae of relationships not seen since the Updike last wrote about Rabbit, the Wedding Present has been a stalwart, vital part of the British music scene. On the occasion of the release their latest singles/video collection, Search for Paradise, frontman/lyricist David Gedge was kind enough to converse with me via e-mail from the studio. Here’s his patient and pointed replies.

Trout: Your use of language is very succinct; you say so much in so little. How did you develop this discipline? I sometimes describe your lyrics to the unconverted as a lyrical Raymond Carver.

David Gedge: Maybe I just hate waffling! When I'm writing, I like to pare things down. So after I've chipped away all the poetic imagery and metaphor there's really just a skeleton left.

T: I’ve seen you perform in Philadelphia twice. Once with the Wedding Present
at the now-defunct Nick's Roast Beef venue and once with Cinerama the night
Belle and Sebastian cancelled, any impressions of Philadelphia?

DG: Err... actually, we never seem to have a good time in Philadelphia... and I'm not sure why that is! The last time Cinerama played there we were heckled by the drunken opening band so ferociously that it actually put us off our performance. They later apologised.  And outside the venue there was this crate of rotting crab left on the pavement in the sunshine that made the entire block smell like death. And on a previous tour we had a sound engineer from Philadelphia who stole one of our microphones! It's not the city itself... I just think we've had a run of bad luck!

T: What was it like performing to a crowd that was fueled with circulating rumors that the band many of them came to see weren't going to show up? (Referring to a show in 1998 in Philadelphia when Belle & Sebastian cancelled in the 11 th hour) I really enjoyed both performances by the way.

DG: Thank you. It was quite a frustrating day for us to be honest. It was only Cinerama's second ever concert and I remember that the band weren't particularly happy with their performance that night. The audience were fine... I just felt a bit sorry for them. Belle and Sebastian took absolutely ages to sound check and then pulled out just because one of them didn't feel very well. But there were so many musicians on stage that they could definitely have put a show together of some description. A bit too primadonna-ish, perhaps? 

T: The vast majority of your songs are what I term 'relationship songs', about
break-ups and rows mostly. More than one could seemingly experience in a
lifetime. Plus you've been in a monogamous relationship for much of your
career. Where does all the material come from?

DG: Perhaps I just have an overactive imagination?! Most of the stories are true in some way or another. They're either completely autobiographical or it's a case of me imagining myself in a particular situation. I draw inspiration from my everywhere... I'm often to be found listening to other people's conversations on trains... especially if they're shouting at each other.

T: Beyond your brilliant lyrics you have an incredible knack for hooks, and a
talent for conveying the same feeling with your guitar. Comments?

DG: I think people sometimes don't work on melody enough. It's a fundamental thing, really... words and tunes, that's what pop music is all about. So you've got to make sure they're both as good as you can possibly make them. I spend a long time on them both when I'm writing. I'm not the greatest guitarist in the world... it was just the instrument that seemed the most 'cool' to me, and I still find it very difficult to play.

T: Over the years when listening to your tunes I get hung up on one song and
listen to it endlessly as if trying to get to the bottom of something. Past
offenders have included 'Kennedy', 'I'm not Always So Stupid', 'Wow', 'Your

Charms' and currently 'Bad Thing'. Are you aware when writing a song you
might hit someone so deep it creates an obsession?

DG: Ha! No, I'm definitely not aware of that when I'm writing a song. The only thing I think about at that stage is how to convey my feelings in the best way. And not repeat myself! It's only afterwards when people tell me stories like you just have that I start to appreciate the impact that I might have had. It's obviously tremendously flattering! 

T: I'm really enjoying the videos accompanying the new collection. How much
input on them do you have?

DG: As much as I need really. I take a back seat if I feel that the director's concept is working. All the videos on 'Search For Paradise' are by one person, Tim Middlewick, and I love everything that he's done so far. I've just made a few little suggestions here and there. It helped that he came to me first and foremost as a huge Wedding Present fan, rather than a film-maker wanting a commission, so he had a strong appreciation of what the group was about anyway.

T : Since the songs are so intimate and autobiographical about your own relationships is choosing your leading lady in a video a process?

DG: The leading lady in 'Interstate 5' is actually Tim's girlfriend and she was chosen because she used to run competitively. She worked so hard on that project... running around in just a night-dress... I felt seriously guilty! On 'I'm From Further North Than You' I found myself in the slightly surreal position of looking at pictures of numerous actresses, reading their biographies, considering their statistics! It wasn't so much a case of wondering whether the on-screen relationship would work, it was more about whether they would they look suitable in the video. I did feel a bit like a judge at the Miss World Pageant... "Hmmm... I don't like her hair; she's a bit young, etc., etc."

T: You have always been very committed to making all of your work available to
your fans via compilations with both bands.

DG: I'm very appreciative of the fans... so I want to make sure everything's available to them. I don't like getting messages from people saying: "Oy, Smartarse... we can't get your flippin' records over here!"

T: You are also very creative about the way you release records and singles. Is there something behind that? Some frustration in your own experience as a record buying fan?

DG: Well, if you are going to release something, then there's a feeling that you want to make it as interesting as possible. I'm a big fan of pop culture, and I like to play around with the format. It's easy to get tied down to album, tour, album, tour...

T: Any place in the states you really like playing or would like to play?

DG: There are only three states in which I've not played, so I'd obviously like to complete the set at some point! So I guess we're currently on the lookout for promoters in Alaska, Hawaii and Maine!

T: Is there anyone you have always wanted to collaborate with?

DG: At the moment I would have to say the lovely Amy Millan, who sings with Stars and Broken Social Scene from Canada. We met her on tour in Germany. She has such a sensual voice, ranging from sweet to husky in a way that makes you want to listen over and over again... a bit like you with 'Bad Thing', I guess!

T: What's next on your agenda?

DG: I don't know. One of my over used answers in interviews is: "I don't plan... planning's for architects!" But it's kinda true…Actually, I've changed my mind. We have a few more concerts and radio sessions to do, and then my ambition is to locate myself on a warm beach somewhere with a glass of red wine in my hand.

T: You have a very distinct visual fashion style: long sleeved t-shirts, straight leg jeans, and boots, usually black. Is this calculated? Are you like me and when you find something comfortable that works you stick with it so its one less thing you have to worry about?

DG: You should have seen me on the last British tour, mate... head to toe in white! Including underwear. Somebody in the crowd at the London concert shouted that I looked like a cricketer though.

T: Have you ever thought about writing fiction? Perhaps a book of stories like Graham Parker or a book of stories behind the songs like XTC (I would love that).

I do think about it occasionally... but the problem at the moment is one of finding the space. All of my time is taken up just doing The Wedding Present and Scopitones. If I started on some other project, the band would obviously have to be pushed aside somewhat... and I'd have even less of a life than I do now! 

T: What was the last record you bought?

DG: I didn't actually buy it, but the last record I was sent was the excellent debut album from The Victorian English Gentlemens Club... that ironically is a band from Wales.

T: What was the last record you listened to?

DG: We're just about to record a radio session for the BBC and it's going to be all covers... so I've been listening to lots of different people... Cilla Black, The Hollies, Blondie, Minnie Ripperton, Take That, and, erm... Stars!

T: Are you still worried people think of the Birthday Party when they hear the name The Wedding Present (coincidentally enough I am wearing a Birthday Party t-shirt as I type this)?

DG: Nah. By the time I named the band The Wedding Present I was already over that...

T: What's your favorite Kinks record?

DG: Lola. Great lyrics!
 
T: Watch any television?

The Wedding Present has been on the road for the last 18 months and so I've missed a lot of television... the new Dr. Who, Lost, Desperate Housewives... so I've been getting a few things on DVD. I've been absolutely embroiled in the first 3 seasons of 24, and so it was great to meet Kiefer Sutherland and one of the writers earlier this year.

The Wedding Present's new singles and video collection Searching For Paradise is out now and can be purchased at your local record store or here.

Special Thanks to Miss S. Bonaparte for her editing expertise.